Following the closure of Londonewcastles original project space in Shoreditch, after a successful eight years, the new and more intimate Gallery 46 has opened in Summer 2016.
Spaces for unlocking London's artistic potential.
View all past exhibitions at our Londonewcastle Project Space below
46 Ashfield Street, London, E1 2AJ
Gallery 46 in Whitechapel is our new sister gallery to be used as Londonewcastle Project Space. The new space, established through the partnership of Martin J Tickner and Sean McLusky and Fruitmachine founders, Martin Bell & Wai Hung Young breaks fresh ground for the open-source, non-conformist curatorial approach Tickner and McLusky employed at their (rightly) notorious MEN Gallery, in Shoreditch.Housed in a pair of newly renovated Georgian houses in the grounds of Whitechapel Hospital, GALLERY 46 is set over 3 floors and 8 rooms and is a kaleidoscopic addition to Whitechapel’s burgeoning gallery scene and close by its artistic...→
Our Street Art Programme is about turning over large canvases on buildings under our control – during planning and development – to artists, from the internationally renowned to the completely unknown. If you’d like Londonewcastle to showcase your work, contact us...→
On Wednesday the 11th of June, Londonewcastle in association with Max Wigram Gallery held a private viewing of the latest artwork by Parisian artist Marine Hugonnier. The private viewing was a great success with over 250 people enjoying the evening, which culminated in a VIP dinner hosted by Londonewcastle and Max Wigram at London's newest Italian restaurant- L'Anima.
Since 2001 Hugonnier’s practice has reconsidered the phenomenal world as a cultural construct, exploring how our visual apprehension of it is subject to ideological, political, and physical positioning. In this show photography, film and works on paper are presented within broader systems of signification drawn from her anthropological studies. This exhibition weaves together journeys – through literary images, geographical locations, the history of a given artwork, or to the origin of a cinematic style.
The first work in the exhibition stages a dialogue with Mallarmé’s last major poem – Un Coup de Des Jamais n’aboliera le Hasard (A Throw of the Dice will Never Abolish Chance). The mise-en-scène includes an open window, a spider and a performer dressed in a tuxedo who will change a solitary frame, containing a folded page of the poem, on the wall every hour. This poem was considered by Duchamp and Broodthaers as the birth of a ‘modern space’ and Hugonnier’s treatment of it similarly addresses the extension of time and space.
Recalling Mallarmé’s climatic imagery, of solitary plumes, abyss and souring altitudes, the ITCZ photographs capture momentary crystallisations of meteorological conditions. Taken in Mexico, during the passage of the International Tropical Convergence Zone, the nebulous imagery is an indexical mark of the ungraspable.
The Restoration Project is an ongoing body of work in which the artist reclaims found paintings chosen on subjects that run throughout her practice, working with a restorer to alter aspects of the painting’s appearance. Each painting is accompanied by two reports – one describing the painting before alteration, one afterwards, recording its transformation. The project examines the process of restoration as an endeavour spanning two moments in time, highlighting the temporality of an artwork and subtly changing the conditions of its visibility.
The show takes its title from the eponymous 24-minute film shot on the river Niger. The Secretary of the Invisible, which recently premiered at MAMCO, Geneva, is an homage to Jean Rouch, the French anthropologist and filmmaker whose 1955 film, Les Maîtres Fous (The Mad Masters) heralded the arrival of a “direct cinema” which set out to collapse the distance that separates the apprehending gaze (the camera) from its subject (the Other). Following Rouch, The Secretary of the Invisible was filmed in the historic homeland of the Songhai people. The theme of mimesis, metonymically represented by the chameleon, runs throughout the film. The reptile’s change of colour, its camouflage and subsequent invisibility are placed in parallel with the ability of the director to become an "invisible eye" and to remain in the service of this condition.